The essay, as a notably hard form of writing to pin down, has inspired some unflattering descriptions: It is a “greased pig,” for example, or a “pair of baggy pants into which nearly anything and everything can fit.” In Tracing the Essay, G. Douglas Atkins embraces the very qualities that have moved others to accord the essay second-class citizenship in the world of letters. Drawing from the work of Montaigne and Bacon and recent practitioners such as E. B. White and Cynthia Ozick, Atkins shows what the essay means--and how it comes to mean. The essay, related to assaying (attempting), mines experience for meaning, which it then carefully weighs. It is a via media creature, says Atkins, born of and embracing tension. It exists in places between experience and meaning, literature and philosophy, self and other, process and product, form and formlessness. Moreover, as a literary form the essay is inseparable from a way of life requiring wisdom, modesty, and honesty. “The essay was, historically,” notes Atkins, “the first form to take the experience of the individual and make it the stuff of literature.” Atkins also considers the essay’s basis in Renaissance (and Reformation) thinking and its participation in voyages of exploration and discovery of that age. Its concern is “home-cosmography,” to use a term from seventeenth-century writer William Habington. Responding to influential critiques of the essay’s supposed self-indulgence, lack of irony, and absence of form, Atkins argues that the essay exhibits a certain “sneakiness” as it proceeds in, through, and by means of the small and the mundane toward the spiritual and the revelatory.

The essay, as a notably hard form of writing to pin down, has inspired some unflattering descriptions: It is a “greased pig,” for example, or a “pair of baggy pants into which nearly anything and everything can fit.” In Tracing the Essay, G. Douglas Atkins embraces the very qualities that have moved others to accord the essay second-class citizenship in the world of letters. Drawing from the work of Montaigne and Bacon and recent practitioners such as E. B. White and Cynthia Ozick, Atkins shows what the essay means--and how it comes to mean. The essay, related to assaying (attempting), mines experience for meaning, which it then carefully weighs. It is a via media creature, says Atkins, born of and embracing tension. It exists in places between experience and meaning, literature and philosophy, self and other, process and product, form and formlessness. Moreover, as a literary form the essay is inseparable from a way of life requiring wisdom, modesty, and honesty. “The essay was, historically,” notes Atkins, “the first form to take the experience of the individual and make it the stuff of literature.” Atkins also considers the essay’s basis in Renaissance (and Reformation) thinking and its participation in voyages of exploration and discovery of that age. Its concern is “home-cosmography,” to use a term from seventeenth-century writer William Habington. Responding to influential critiques of the essay’s supposed self-indulgence, lack of irony, and absence of form, Atkins argues that the essay exhibits a certain “sneakiness” as it proceeds in, through, and by means of the small and the mundane toward the spiritual and the revelatory.

With a New Preface by the Author Through personal journeys and historical inquiry, this PEN Literary Award finalist explores how America’s still unfolding history and ideas of “race” have marked its people and the land. Sand and stone are Earth’s fragmented memory. Each of us, too, is a landscape inscribed by memory and loss. One life–defining lesson Lauret Savoy learned as a young girl was this: the American land did not hate. As an educator and Earth historian, she has tracked the continent’s past from the relics of deep time; but the paths of ancestors toward her—paths of free and enslaved Africans, colonists from Europe, and peoples indigenous to this land—lie largely eroded and lost. A provocative and powerful mosaic that ranges across a continent and across time, from twisted terrain within the San Andreas Fault zone to a South Carolina plantation, from national parks to burial grounds, from “Indian Territory” and the U.S.–Mexico Border to the U.S. capital, Trace grapples with a searing national history to reveal the often unvoiced presence of the past. In distinctive and illuminating prose that is attentive to the rhythms of language and landscapes, she weaves together human stories of migration, silence, and displacement, as epic as the continent they survey, with uplifted mountains, braided streams, and eroded canyons. Gifted with this manifold vision, and graced by a scientific and lyrical diligence, she delves through fragmented histories—natural, personal, cultural—to find shadowy outlines of other stories of place in America. "Every landscape is an accumulation," reads one epigraph. "Life must be lived amidst that which was made before." Courageously and masterfully, Lauret Savoy does so in this beautiful book: she lives there, making sense of this land and its troubled past, reconciling what it means to inhabit terrains of memory—and to be one.

This is a book on how to read the essay, one that demonstrates how reading is inextricably tied to the art of writing. It aims to treat the essay with the close attention that has been given to other literary genres, and in doing so it suggests the beauty and depth of the form as a whole. At once personal appreciations and acute critical assessments, the pieces collected here broaden our perspective on the essay as a major literary art, tracing its history from William Hazlitt to Joan Didion.

Continuing Patrick Wolfe’s work on settler colonialism This edited collection celebrates Patrick Wolfe’s contribution to the study and critique of settler colonialism as a distinct mode of domination. The chapters collected here focus on the settler-colonial assimilation of land and people, and on what Wolfe insightfully defined as “preaccumulation”: the ability of settlers to mobilise technologies and resources unavailable to resisting Indigenous communities. Wolfe’s militant and interdisciplinary scholarship is thus emphasised, together with his determination to acknowledge Indigenous perspectives and the efficacy of Indigenous resistances. In case studies of Australia, French Algeria, and the United States, contributors illustrate how seminal his contribution was and is. There are three core reasons why it is especially important to develop the field of thinking inaugurated by Wolfe: first, because the demand for Indigenous sovereignty has been crucial to recent struggles against neoliberal attacks in the settler societies; second, because a critique of settler colonialism and its logic of elimination has supported important struggles against environmental devastation; and third, because the ability to think race in ways that are not disconnected from other struggles is now more needed than ever. Racial capitalism and settler colonialism are as imbricated now as they always have been, and keeping both in mind at the same time highlights the need to establish and nurture solidarities that reach across established divides.

The first critical study of writing without language In recent years, asemic writing—writing without language—has exploded in popularity, with anthologies, a large-scale art exhibition, and flourishing interest on sites like tumblr, YouTube, Pinterest, and Instagram. Yet this burgeoning, fascinating field has never received a dedicated critical study. Asemic fills that gap, proposing new ways of rethinking the nature of writing. Pioneered in the work of creators such as Henri Michaux, Roland Barthes, and Cy Twombly, asemic writing consolidated as a movement in the 1990s. Author Peter Schwenger first covers these “asemic ancestors” before moving to current practitioners such as Michael Jacobson, Rosaire Appel, and Christopher Skinner, exploring how asemic writing has evolved and gained importance in the contemporary era. Asemic includes intriguing revelations about the relation of asemic writing to Chinese characters, the possibility of asemic writing in nature, and explanations of how we can read without language. Written in a lively style, this book will engage scholars of contemporary art and literary theory, as well as anyone interested in what writing was and what it is now in the process of becoming.

"Now, with "The making of the American essay' the editor includes selections ranging from Anne Bradstreet's secular prayers to Washington Irving's satires, Emily Dickinson's love letters to Kenneth Goldsmith's catalog's, Gertrude Stein's portraits to James Baldwin's and Norman Mailer's mediations on boxing. In this volume the editor uncovers new stories in the American essay's past and shows us that some of the most fiercely daring writers in the American literary canon have turned to the essay in order to produce some of our culture's most exhilarating art."-- book jacket.

In the hands of such writers as Rebecca Solnit, Claudia Rankine, David Shields, Zadie Smith and many others, the essay has re-emerged as a powerful literary form for tackling a fractious 21st-century culture. The Essay at the Limits brings together leading scholars to explore the theory, the poetics and the future of the form. The book links the formal innovations and new voices that have emerged in the 21st-century essay to the history and theory of the essay. In so doing, it surveys the essay from its origins to its relation to contemporary cultural forms, from the novel to poetry, film to music, and from political articles to intimate lyrical expressions. The book examines work by writers such as: Theodor W. Adorno, Kwame Anthony Appiah, Francis Bacon, James Baldwin, Roland Barthes, Maurice Blanchot, Ta-Nehisi Coates, Annie Dillard, Brian Dillon, Jean Genet, William Hazlitt, Samuel Johnson, Karl Ove Knaussgaard, Ben Lerner, Audre Lorde, Oscar Wilde, Michel de Montaigne, Zadie Smith, Rebecca Solnit, Wallace Stevens, Eliot Weinberger and Virginia Woolf.

The book studies the history and theory of the essay and its social, political, and aesthetic contexts.

From the country's beginning, essayists in the United States have used their prose to articulate the many ways their individuality has been shaped by the politics, social life, and culture of this place. The Cambridge History of the American Essay offers the fullest account to date of this diverse and complex history. From Puritan writings to essays by Indigenous authors, from Transcendentalist and Pragmatist texts to Harlem Renaissance essays, from New Criticism to New Journalism: The story of the American essay is told here, beginning in the early eighteenth century and ending with the vibrant, heterogeneous scene of contemporary essayistic writing. The essay in the US has taken many forms: nature writing, travel writing, the genteel tradition, literary criticism, hybrid genres such as the essay film and the photo essay. Across genres and identities, this volume offers a stirring account of American essayism into the twenty-first century.